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Thread started 11/14/14 9:18am

dm3857

Aleister Crowley?

I didn't really know what forum to put this in, but I thought it here because I came across Aleister Crowley from reading about different musicians. I don't know much about Aleister Crowley at all, I was reading something about Bowie and his name was brought up, I've seen his name be associated with Led Zepp, and SGT Pepper's too. I know that he was some kind of spiritual teacher who believed in some sort of magic, but when I look him up there are so many different things.. For example, some believe he was a Satanist, others believe he was the furthest thing from a Satanist. Some say he is "The Wickedest Man In The World" and others say that's not the case at all..

Basically my question is who is Aleister Crowley, and why/what is his influence in Music?

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Reply #1 posted 11/14/14 10:42am

MickyDolenz

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Daryl Hall has mentioned him in the past. I think Daryl was into the occult at one time. But I guess Aleister would be more of an influence on some types of heavy metal and goth music.

You can take a black guy to Nashville from right out of the cotton fields with bib overalls, and they will call him R&B. You can take a white guy in a pin-stripe suit who’s never seen a cotton field, and they will call him country. ~ O. B. McClinton
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Reply #2 posted 11/14/14 11:07am

KoolEaze

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I used to read a lot of Robert Anton Wilson when he was still alive, and Bob was heavily into Aleister Crowley (who was a Satanist, no doubt about that, albeit his branch of Satanism is probably very different from , say, the Church of Satan or other Satanists...there are various branches and forms of it). I was kind of surprised because Bob was , at least in my opinion, very different from his hero Aleister Crowley.

Being Turkish, I also found it interesting that Crowley named his son "Atatürk", after the founder of the Turkish Republic. No idea why he did that.

Many rock musicians were really into him, probably because , you know, RocknRoll=rebellion?

Even Jay-Z wears shirts with Crowley slogans and symbols from time to time (for example Do What Thou Wilt, which was Crowley´s motto).

His cult had this place named Thelema in Sicily/Italy. He drove some women insane.

" I´d rather be a stank ass hoe because I´m not stupid. Oh my goodness! I got more drugs! I´m always funny dude...I´m hilarious! Are we gonna smoke?"
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Reply #3 posted 11/14/14 12:05pm

MickyDolenz

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^^He's also one of the cutouts on the Sgt. Pepper album.

You can take a black guy to Nashville from right out of the cotton fields with bib overalls, and they will call him R&B. You can take a white guy in a pin-stripe suit who’s never seen a cotton field, and they will call him country. ~ O. B. McClinton
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Reply #4 posted 11/14/14 1:11pm

MickyDolenz

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You can take a black guy to Nashville from right out of the cotton fields with bib overalls, and they will call him R&B. You can take a white guy in a pin-stripe suit who’s never seen a cotton field, and they will call him country. ~ O. B. McClinton
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Reply #5 posted 11/14/14 4:18pm

MickyDolenz

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Kevin: Around the time of Sacred Songs, I saw that you were very interested in the writing of the mystic Aleister Crowley?

Daryl: Yeah, I was sort of in that period of time in my life where I was looking around. I grew up in a very, I don't know—I think I have a metaphysical attitude towards the world. Everybody wants to try and formulate opinions on what's going on around them, and what's the nature of reality. And I got pretty involved in all that stuff. I learned a lot from it. And through that I went to other things. I think some of my lyrics reflected what I was thinking about at the time or what I was reading, and I've used that as a part of my general philosophy of life.

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Kevin: What do you think it is about that specific man that has attracted so many musicians like Jimmy Page and David Bowie and myself? I've also done some research on him; he seems like a pretty fascinating character.

Daryl: Oh, he influenced you too?

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Kevin: Yeah, to some degree.

Daryl: Oh, so you know what I'm talking about.

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Kevin: Yeah, I'm just sort of attracted to—

Daryl: Because a lot of people don't. A lot of people misunderstand what that fella's all about. He had a very unique way of looking at things. I think he borrowed from a lot of people, like everybody does, and he created an interesting philosophy, which is flawed, but at the same time has power and, I think, has a lot of use in your life. I think it's an interesting point of view. That's the best way I can put it. I think it has a special resonance to a creative person who doesn't have a chained brain, someone who thinks in broad strokes and thinks alternatively. I think that his philosophy has appeal to that mode of thinking.

2009 Interview

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Around 1974, I graduated into the occult, and spent a sold six or seven years immersed in the Kabala and the Chaldean, Celtic, and Druidic traditions … I also became fascinated with Aleister Crowley, the nineteenth-century magician who shared these beliefs.” - Daryl Hall to Timothy White (1987)


You can take a black guy to Nashville from right out of the cotton fields with bib overalls, and they will call him R&B. You can take a white guy in a pin-stripe suit who’s never seen a cotton field, and they will call him country. ~ O. B. McClinton
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Reply #6 posted 11/14/14 4:54pm

MickyDolenz

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JAN WENNER: Let’s start with “Sympathy for the Devil.”
MICK JAGGER: I think that was taken from an old idea of [Charles] Baudelaire’s, I think, but I could be wrong. Sometimes when I look at my Baudelaire books, I can’t see it in there. But it was an idea I got from French writing. And I just took a couple of lines and expanded on it. I wrote it as sort of like a Bob Dylan song. And you can see it in this movie Godard shot called “Sympathy for the Devil” [originally titled “One Plus One”,] which is very fortuitous, because Godard wanted to do a film of us in the studio. I mean, it would never happen now, to get someone as interesting as Godard. And stuffy. We just happened to be recording that song. We could have been recording “My Obsession.” But it was “Sympathy for the Devil,” and it became the track that we used.

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WENNER: You wrote that song.
JAGGER: Uh-huh.
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WENNER: So that’s a wholly Mick Jagger song.
JAGGER: Uh-huh. I mean, Keith suggested that we do it in another rhythm, so that’s how bands help you.
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WENNER: Were you trying to put out a specific philosophical message here? You know, you’re singing, “Just as every cop is a criminal and all the sinners saints”...
JAGGER: Yeah, there’s all these attractions of opposites and turning things upside down.
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WENNER: When you were writing it, did you conceive of it as this grand work?
JAGGER: I knew it was something good, ‘cause I would just keep banging away at it until the fucking band recorded it.
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WENNER: There was resistance to it?
JAGGER: No, there wasn’t any resistance. It was just that I knew that I wanted to do it and get it down. And I hadn’t written a lot of songs on my own, so you have to teach it. When you write songs, you have to like them yourself first, but then you have to make everyone else like them, because you can force them to play it, but you can’t force them to like it. And if they like it, they’ll do a much better job than if they’re just playing ‘cause they feel they’re obligated.
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WENNER: They get inspired.
JAGGER: And then you get inspired, and that’s what being in a band’s about rather than hiring people. But I knew it was a good song. You just have this feeling. It had its poetic beginning, and then it had historic references and then philosophical jottings and so on. It’s all very well to write that in verse, but to make it into a pop song is something different. Especially in England – you’re skewered on the altar of pop culture if you become pretentious.
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WENNER: The song has a very strong opening: “Please allow me to introduce myself.” And then it’s this Everyman figure in history who keeps appearing from the beginning of civilization.
JAGGER: Yeah, it’s a very long historical figure – the figures of evil and figures of good – so it is a tremendously long trail he’s made as personified in this piece.
WENNER: What else makes this song so powerful?
JAGGER: It has a very hypnotic groove, a samba, which has a tremendous hypnotic power, rather like good dance music. It doesn’t speed up or slow down. It keeps this constant groove. Plus, the actual samba rhythm is a great one to sing on, but it’s also got some other suggestions in it, an undercurrent of being primitive – because it is a primitive African, South American, Afro-whatever-you-call-that rhythm. So to white people, it has a very sinister thing about it.

But forgetting the cultural colors, it is a very good vehicle for producing a powerful piece. It becomes less pretentious because it’s a very unpretentious groove. If it had been done as a ballad, it wouldn’t have been as good.

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WENNER: Obviously, Altamont gave it a whole other resonance.
JAGGER: Yeah, Altamont is much later than the song, isn’t it? I know what you’re saying, but I’m just stuck in my periods, because you were asking me what I was doing, and I was in my study in Chester Square.
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WENNER: After Altamont, did you shy away from performing that song?
JAGGER: Yeah, probably, for a bit.
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WENNER: It stigmatized the song in a way?
JAGGER: Yeah. Because it became so involved with [Altamont] – sort of journalistically and so on. There were other things going on with it apart from Altamont.
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WENNER: Was it the black-magic thing?
JAGGER: Yeah. And that’s not really what I meant. My whole thing of this song was not black magic and all this silly nonsense – like Megadeth or whatever else came afterward. It was different than that. We had played around with that imagery before – which is “Satanic Majesties” – but it wasn’t really put into words.
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WENNER: After the concert itself, when it became apparent that somebody got killed, how did you feel?
JAGGER: Well, awful. I mean, just awful. You feel a responsibility. How could it all have been so silly and wrong? But I didn’t think of these things that you guys thought of, you in the press: this great loss of innocence, this cathartic end of the era.... I didn’t think of any of that. That particular burden didn’t weigh on my mind. It was more how awful it was to have had this experience and how awful it was for someone to get killed and how sad it was for his family and how dreadfully the Hell’s Angels behaved.
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WENNER: Did it cause you to back off that kind of satanic imagery?
JAGGER: The satanic-imagery stuff was very overplayed [by journalists]. We didn’t want to really go down that road. And I felt that song was enough. You didn’t want to make a career out of it. But bands did that – Jimmy Page, for instance.
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WENNER: Big Aleister Crowley...
JAGGER: I knew lots of people that were into Aleister Crowley. What I’m saying is, it wasn’t what I meant by the song “Sympathy for the Devil.” If you read it, it’s not about black magic, per se.
.
You can take a black guy to Nashville from right out of the cotton fields with bib overalls, and they will call him R&B. You can take a white guy in a pin-stripe suit who’s never seen a cotton field, and they will call him country. ~ O. B. McClinton
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Reply #7 posted 11/15/14 9:13am

Beautifulstarr
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From what I've read, he was a grand wizard for the Illuminati (if they exist) and he's a big influence on big time musicians. He wrote a book on how to channel spirits. Doesn't sound pleasant at all.
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Reply #8 posted 11/15/14 10:23am

MickyDolenz

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Invocation Of My Demon Brother

{1969} is an 11 minute film directed, edited and photographed by Kenneth Anger. The music was composed by Mick Jagger. It was filmed in San Francisco at the Straight theater and the (former) Russian Embassy. According to Kenneth Anger, the film was assembled from scraps of the first version of Lucifer Rising.

Sound - Mick Jagger

Speed Hacker - Wand bearer
Kenneth Anger - Magus
Lenore Kandel- Deaconess
William Kandel - Deacon
Van Leuven - Acolyte
Harvey Bialy & Timotha Bially - Brother and Sister of the Rainbow
Anton LaVey - His Satanic Majesty
Bobby Beausoleil - Lucifer

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Invocation of My Demon Brother (1969) is the eighth of Anger’s nine extant short films, which are collectively titled The Magick Lantern Cycle (1947–1980). Not one of Kenneth Anger’s best-known works, Invocation has come to be eclipsed by the earlier pieces, Fireworks (1947) and Scorpio Rising (1963), in the pantheon of American avant-garde films that are regularly revived by film societies and universities. In this essay, I will show that it remains one of Kenneth Anger’s richest works, in terms of its use of symbol and ritual, and is a title that deserves greater critical recognition than it has been afforded in recent years.

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Perhaps the single strongest influence on Kenneth Anger, evident from both films and interviews, has been that of the English occultist Aleister Crowley (1875–1947). Crowley coined the term magick to refer to the system of occult beliefs that he propounded and to distinguish them from traditional systems of magic. Crowley’s most significant contributions to early 20th century occultism were the integration of Nietzschean thought along with principles derived from the budding science of psychology. He defined magick as “the Science and Art of causing Change to occur in conformity with the Will”, and argued that every intentional act is a magickal act (6). The religious doctrine that he developed, known as the “Holy Law of Thelema”, centres on his maxim, “Do what thou Wilt shall be the whole of the Law”.

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Deborah Allison 2005

You can take a black guy to Nashville from right out of the cotton fields with bib overalls, and they will call him R&B. You can take a white guy in a pin-stripe suit who’s never seen a cotton field, and they will call him country. ~ O. B. McClinton
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Reply #9 posted 11/15/14 11:13am

luvsexy4all

zelaira= wiccan=crowley

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Reply #10 posted 12/05/14 10:56pm

MickyDolenz

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Tobias Churton discusses his 2014 book Aleister Crowley - The Beast in Berlin: Art, Sex, and Magick in the Weimar Republic. The talk also touches on psychology, politics, science, spirituality, materialism, quantum physics, social conformity, limits to human understanding, and the quest for meaning and purpose in life.

Gnostic poet, painter, writer, and magician Aleister Crowley arrived in Berlin on April 18, 1930. As prophet of his syncretic religion Thelema, he wanted to be among the leaders of art and thought, and Berlin, the liberated future-gazing metropolis, wanted him. There he would live, until his hurried departure on June 22, 1932, as Hitler was rapidly rising to power and the black curtain of intolerance came down upon the city. Known to his friends affectionately as ‘The Beast’, Crowley saw the closing lights of Berlin's artistic renaissance of the Weimar period when Berlin played host to many of the world's most outstanding artists, writers, filmmakers, performers, composers, architects, philosophers, and many other luminaries of a glittering world soon to be trampled into the mud by the global bloodbath of World War II.

Drawing on previously unpublished letters and diary material by Crowley, Churton examines Crowley's years in Berlin and his intense focus on his art, his work as a spy for British Intelligence, his colorful love life and sex magick exploits, and his contacts with German Theosophy, Freemasonry, and magical orders. He recounts the fates of Crowley's colleagues under the Nazis as well as what happened to Crowley's lost art exhibition - six crates of paintings left behind in Germany as the Gestapo was closing in. Revealing the real Crowley long hidden from the historical record, Churton presents ‘the Beast’ anew in all his ambiguous and, for some, terrifying glory, at a blazing, seminal moment in the history of the world.

http://www.tobiaschurton.com

You can take a black guy to Nashville from right out of the cotton fields with bib overalls, and they will call him R&B. You can take a white guy in a pin-stripe suit who’s never seen a cotton field, and they will call him country. ~ O. B. McClinton
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Reply #11 posted 12/07/14 11:42am

steakfinger

MickyDolenz said:

Daryl Hall has mentioned him in the past. I think Daryl was into the occult at one time. But I guess Aleister would be more of an influence on some types of heavy metal and goth music.

That's true, but he was also a big influence on the hippies. Free love and drugs were part of his idiotic misunderstanding of the Book of Thoth. The actual book doesn't exist and all that is around is the Greek version, the Roman version and some morons who feel the book was Tarot cards. The actual book, (based on what is known from recovered writings in Egypt) is nothing like ANY of the versions that came after.

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Reply #12 posted 12/07/14 12:19pm

Beautifulstarr
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steakfinger said:



MickyDolenz said:


Daryl Hall has mentioned him in the past. I think Daryl was into the occult at one time. But I guess Aleister would be more of an influence on some types of heavy metal and goth music.




That's true, but he was also a big influence on the hippies. Free love and drugs were part of his idiotic misunderstanding of the Book of Thoth. The actual book doesn't exist and all that is around is the Greek version, the Roman version and some morons who feel the book was Tarot cards. The actual book, (based on what is known from recovered writings in Egypt) is nothing like ANY of the versions that came after.


It sounds like Aleister Crowley just added his little spin to the occult and the Egyptians were deep into the occult. To my understanding, mind control and hypnotism, psychology, if you will, goes as far back as ancient Egypt.
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Reply #13 posted 12/08/14 3:38pm

Cinny

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I rebuke this thread

[img:$uid]http://www.nwbotanicals.org/mediawatch/god_warrior1.jpg[/img:$uid]

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Reply #14 posted 12/09/14 4:44am

OperatingTheta
n

Useful sites for further, clear information about Crowley, his activities and beliefs:

http://iao131.com/

http://www.thelemapedia.org/index.php/Main_Page

I have been accused of being a "black magician." No more foolish statement was ever made about me. I despise the thing to such an extent that I can hardly believe in the existence of people so debased and idiotic as to practice it.

- Aleister Crowley

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Reply #15 posted 12/09/14 4:45am

OperatingTheta
n

Basic Beliefs

The Great Work
Striving to ascend to higher states of existence, uniting oneself with higher powers, and understanding and embracing one's True Will, their ultimate purpose and place in life.

The Law of Thelema
"Do what thou wilt shall be the whole of the law." "Thou wilt" here means to live by ones own True Will.

"Every man and every woman is a star."
Each person possesses unique talents, abilities and potentials, and none should be impeded in seeking out their True Self.

"Love is the law. Law under will."
Each person is united with his True Will through love. Discovering is a process of understanding and unity, not force and coercion.

http://altreligion.about.com/od/alternativereligionsaz/a/thelema.htm

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Reply #16 posted 12/10/14 12:06pm

Slave2daGroove

Junkie, Hustler, Conjuror of his day.

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He's gotten quite a bit of press (which he would have wanted) because of Rock & Roll but at the end of the day, he was a man that could lead the weak willed while taking of advantage of anything he could. His writings are interesting but nothing I'm going to read again.

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Reply #17 posted 12/11/14 2:41pm

Cinny

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OperatingThetan said:

The Law of Thelema

"Every man and every woman is a star."

eek


OperatingThetan said:

The Law of Thelema

"Love is the law. Law under will."

eek

eek

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Reply #18 posted 12/11/14 3:00pm

TASKAE

The law of Thelema is so misunderstood by Christians, and they don't realize how similar it is to one of their own concepts:

"Do what thou wilt shall be the whole of the Law

Love is the Law. Love under will.

There is no other law but do what thou wilt."

There are two possible interpretations of this.

The first is that Crowley was satirizing the Bible overall with his Book of the Law, which he "adapted" from other metaphysical/occult books himself. To hear the Book of the Law read, it's very reminiscent of the Old Testament story of how God smited people, especially in the 3rd part of the Book. Celtic Frost, one of the architects of the death metal sound, cite him heavily in their work, especially in the album To Mega Therion, but also in Monotheist.

The second is that there's a kernel of truth in what he wrote, almost like him saying, "but if you are going to believe what I write, here's something for you to really meditate on. This is where the battlefield of giving one's Will over to God. If you believe that God is Love, then try this one on for size.

"Do what thou wilt shall be the whole of the Law

God is the Law. God under will..."

In becoming saved, you give yourself and your will over to God through God's child, Jesus. Giving your will over to Jesus means you make a choice.

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